1. SALC 25200 Intro to Tibetan Literature Week 7: Women in Tibetan Literature
First some administrative things:
Want to thank you for your candid and helpful feedback through the Mid Course Review. It was really helpful for me to receive your feedback. Based on that I have a few changes I’m going to make. I’ll get to that in a few minutes. First I want to go over Final projects.
Samurai shampoo

2. Update on Final Projects and Presentation week
Reminder: 2-para summary for Final project due Friday May 16th (11:59pm). instructor with questions!
Graduating seniors must present Thursday May 29th, submit final projects by 11:59pm Thursday June 5th; Remaining students will present Tuesday June 3rd, must submit final projects by Thursday June 12th (11:59pm).
Presentations should be approximately minutes in length (no more than 25 minutes). Can include written, oral/aural, visual, audio-visual, or performative components. Methods of presenting and mediums for presenting are up to the discretion of the presenter. Presentation should, however, engage in the themes of the final project. This is your opportunity for feedback from everyone!!
Submission of drafts for final project/paper encouraged! (with 48 hours notice allowed for feedback)
Optional Milarepa viewing beginning Tuesday June 3rd after final presentation?
Final project presentations and due dates for graduating seniors: I have to turn in grades for you 11:59pm Sat June 7th, so I will request final projects for graduating seniors be submitted by noon on the day before (Friday June 6th) to allow for technological difficulties. The 3 graduating seniors will present Thursday May 29th—expect to present maybe minutes or so. No more than 30! So that all have time. . That leaves Ted for June 3rd. That gives you a full week to work in feedback you receive during your presentations. After Ted’s presentation on June 3rd, I will start Milarepa. For anyone interested we can meet again June 5th optionally to watch and enjoy. *Anyone who would like to submit a draft of their paper/project prior to final submission is more than welcome. I request 48 hours to allow me time to give appropriate feedback. You will receive feedback within that 48 hour period.*
June 5th (reading period) I am opening up for an optional movie viewing (Milarepa!) if you are interested.

3. Changes to Syllabus and Course Requirements
Changes to policy for Piazza postings:
Every week, each student is expected to reply either to one of the discussion questions posted on Piazza or reply to fellow students’ responses for a combined total of two posts per week.
Postings can be made either before or after class discussion.. Students who alternatively choose to post their own discussion questions will earn extra credit (*1/2 pt added to the final paper grade per question per week*).
There was a line in there about leading class discussion. Since this is a small class and since you all excel at participating in class discusssion, I didn’t feel it necessary to enforce this. Keep doing what you are doing.
retroactively effective, the required number of posts per week is 2 (no restrictions as to who you reply to). It has been suggested that discussion board might be more effective after class time. I’d like to try that out. Same EC holds (if create own, but The Nancy Lin article from May 20th will be moved to May 22nd. No additional will be added. Selections also decided (no longer TBD) for the Gendun Chopel book of poetry. question, you get EC).
(2) Also change to syllabus for week 8 readings: Check piazza for updated syllabus
After end of class, will out your midterm paper comments 
Changes to readings for Week 8:
Check piazza for updated syllabus!

4. Outline of Lecture Androcentrism and Misogyny in Tibet
Women in Tibet, a brief history:
Women of power/ influence during the Imperial Period (7th-9th centuries CE)
“Spiritually Accomplished” women from the 11th-12th centuries
Machig Labdron, Vajrayogini and gcod practices
Machig Zhama
Nangsa Obum
III. Female figures in literature: dakinis, nuns, and Orgyan Chokyi

5. I. Androcentrism and Misogyny in Tibet
Linguistically, skye dman (“low birth”)--the most common term for “woman,” used since at least the 11th century– derives from a notion found in Buddhist ideology
Misogyny also found in medical traditions (rgyud bzhi, Ayurveda): 32 extra illnesses only women have
These views, in turn are not uncommonly invoked by Tibetan Buddhist authors.

6. So where do we see women in Tibetan history?
Tibetan Women of power/influence during the Imperial Period (7th-9th centuries CE)
B. “Spiritually Accomplished” women from the 11th th centuries
Machig Labdron, Vajrayogini and gcod practices
Machig Zhama
Nangsa Obum
C. Alternate ‘careers’ for women in Tibet (next class!)

7. Imperial inscriptions and Bell inscriptions mention female patrons
A. Tibetan Women of power/influence during the Imperial Period (7th-9th centuries CE)
Only a few known from this period, all of which were noble. and most of which were related to King Songtsen Gampo
Information about these women found described in certain historical documents: Annals, the Geneology, the Chronicle, all of which were discovered recently from the Dunhuang cave site.
Imperial inscriptions and Bell inscriptions mention female patrons
Titles documented for women during this time are telling: trichen (“throne holder”), mangmoje (“soverign lady of many”), and even tsenmo (queen, female form of tsenpo)
See Helga Uebch, “Ladies of the Tibetan Empire (7th-9th Centuries CE)” in Women in Tibet: Past and Present (29-48)

8. Empress Trimalo
Considered to be the de facto regent of the Tibetan empire; the consort of Emperor Manglon Mangtsen (7th century)
Records of her political involvement exist
After the Emperor Tridusong (her son) died in 704 CE, she was de facto regent until her grandson (Tride Tsugtsen) came “of age” in 712 (age 8), but was politically active for a period spanning 30+ years.
See Helga Uebch, “Ladies of the Tibetan Empire (7th-9th Centuries CE)” in Women in Tibet: Past and Present (29-48)
See Helga Uebch, “Ladies of the Tibetan Empire (7th-9th Centuries CE)” in Women in Tibet: Past and Present (29-48)

9. B. “Spiritually Accomplished” women from the 11th-12th centuries
Exact numbers of accomplished female Buddhists difficult to ascertain because of predomination of male monastic institutions as responsible for record keeping. Three women of note in particular during this time period: Machig Labdron Machig Zhama Nangsa Obum
Martin, Dan “The Woman Illusion? Research into the Lives of Spiritually Accomplished
Women Leaders of the 11th and 12th Centuries.” In Women in Tibet: Past and Present,
edited by Janet Gyatso, New York: Columbia University Press.
See Martin, Dan “The Woman Illusion? Research into the Lives of Spiritually Accomplished Women Leaders of the 11th and 12th Centuries.” In Women in Tibet: Past and Present

10. Machig Labdron (dates uncertain)
11th century disciple of Phadampa Sangye, famous for establishing the ‘Cho’ (“cutting”) lineage, which became popular in Nyingma, Bonpo, and Dzogchen traditions in particular.
Believed to bee the emanation (tulku) of the great yogini, Yeshe Tsogyal, consort to Padmasambhava. among others.
As a child and young woman, Machig made a living as a liturgy reader. Patrons would hire her to read the 'The Perfection of Wisdom', a Mahayana Sutra, in their homes as a form of blessing and to gain merit. Machig was known to be a fast reader and so was in much demand as this meant that she could complete the entire text quickly and her patrons would have to pay for fewer meals for her while she read.
Her biography tells us that she left home to try to avoid traditional marriage. Later married Indian Indian Pandita Topa Draya, a Buddhist practitioner. Her second son became one of her main successors. .
Believed to be the emanation (tulku) of another great yogini, Yeshe Tsogyal, as well as "an emanation of the 'Great Mother of Wisdom,' Yum Chenmo,(prajnaparamita) and of Arya Tara, who transmitted to her [Machig] teachings and initiations."[4]
Biography:
As a child and young woman, Machig made a living as a liturgy reader. She was fortunate to be literate and patrons would hire her to read the Prajnaparamita Sutra or 'The Perfection of Wisdom', a Mahayana Sutra, in their homes as a form of blessing and to gain merit. Machig was known to be a fast reader and so was in much demand as this meant that she could complete the entire text quickly and her patrons would have to pay for fewer meals for her while she read.
The namtar entitled Secret Biography of Machig Labdron[6] relates the struggles that she underwent in order to avoid traditional marriage and eventually left home to practice theDharma as her life's calling. After leaving the monastic order in Yuchong, she married Indian Pandita Topa Draya. (thod-pa gra-ya), also a Buddhist practitioner, who supported Machig in her practices. Together, they had two sons and one daughter (or three sons and two daughters by some accounts). Her second son, Tonyon Samdru (thod-smyon bsam-grub), became one of her main successors and a propagator of Machig Labdron's teachings. He became a monk at the age of 15 under the tutorship of Pha Dampa Sangye. Pha Dampa Sangye's original name was Dampa Sangye. Tonyon Samdru treated him as stepfather and called him Pha Dampa Sangye, with "Pha" meaning "father" and many Tibetans call him Phadampa Sangye to this day.[7]
Some say that Machig received instructions from Pha Dampa Sangye, as her guru and the reincarnation of Padmasambhava which led to profound realizations. However, for several years Machig's main practice was one of tantric union with her spiritual consort and husband, Topabhadra, an emanation of Buddha Shakyamuni (according to a prediction given to Machig by Arya Tara), with whom she raised a family, living the "Red & White essence."[8][9]
Even though Machig spent some time living with monastics, she was not a celibate nun; she partnered and had both daughters and sons who became lineage holders. One of her sons even started out as a thief. Machig was eventually able to bring him to the Dharma and became his teacher: "You may think that Gods are the one's who give you benefits, and Demons cause damage; but it may be the other way round. Those who cause pain teach you to be patient, and those who give you presents may keep you from practising the Dharma. So it depends on their effect on you if they are Gods or Demons," she said. Machig also had female disciples and the four main women disciples were called Machig'sGyen, or Ornaments.[10][page needed]
Later Emanations[edit]
It is said that Machig Labdrön took incarnation as Jomo Menmo (1248–1283)[20][21] and later as Khyungchen Aro Lingma (1886–1923)[22] According to the information given by the website the Gyalwa Karmapa, Jomo Menmo was born as a karmic emanation of Yeshe Tsogyal.[23]
In more recent history, Machig Labdrön has incarnated and emanated both in Tibet and in the West. In Tibet, the great yogini Jetsun Rigdzin Chönyi Zangmo (1852–1953)[24]—also called Ani Lochen and Shugseb Jetsun Rinpoche[25]—was a recognized incarnation of Machig.[26] Shugsheb Jetsun Rinpoche—also called the great female master, Lochen Chönyi Zangmo—founded the Shuksep or Shugsep (shug gseb) nunnery located thirty miles from Lhasa on the slopes of Mount Gangri Thökar.[27][28]
In the west, Lama Tsultrim Allione (1947- ) was recently recognized as an emanation of Machig Labdrön at Zangri Khangmar, Tibet, the place where Machig Labdrön lived from ages 37 to 99, and where she died, by the resident Lama, Karma Nyitön Kunkhyab Chökyi Dorje. Lama Karma Nyitön Kunkhyab Chökyi Dorje offered Lama Tsultrim a self-arisen golden crystal phurba (ceremonial dagger), the only remaining tsa tsa made from the ashes of Machig's body (a mixture of clay and ash imprinted with an image of Machig dancing), texts of Machig's teachings, a hat with symbolic meaning designed by Machig, and various other treasures.[29][30]

11. Why is Machig Labdron so important?
Machig’s gcod lineage/practice continues to the present day
There remain today incarnations/emenations of Machig today in both Tibet and the West. Possibly the longest known continuous female lineage in Tibetan Buddhism

12. What is gcod?
‘Cho’ (gcod), “cutting” is a kind of spiritually sophisticated ‘exorcism’ of the inner and outer demons that hinder the attainment of knowledge and enlightenment
Historically, ‘Cho’ was a marginal and peripheral sadhana, practiced outside traditional Tibetan Buddhist and Indian Tantric institutions.
The Third Karmapa (1284–1339) was a very important systematizer of Chod teachings (including those of Machig Labdron) and significantly assisted in their promulgation within the literary and practice lineages of Kagyupa, Nyingmapa and particularly Dzogchen
Machig’s gcod is alternatively called Mahamudra gcod.
Third Karmapa: systematizer of Chod[edit]
Chod (also written Chöd), the historical nature of the practice, was a marginal and peripheral sadhana, practiced outside traditional Tibetan Buddhist and Indian Tantric institutions with a contraindication as caveat of praxis upon all but the most advanced practitioners. The Third Karmapa (1284–1339) was a very important systematizer of Chod teachings and significantly assisted in their promulgation within the literary and practice lineages of Kagyupa, Nyingmapa and particularly Dzogchen. It is in this transition from the outercharnel ground to the institutions of Tibetan Buddhism that the rite of the Chod becomes more imaginal, an inner practice. That is, the charnel ground becomes an internal imaginal environment. Schaeffer (1995: p. 15) conveys that the Third Karmapa was a systematizer of the Chöd developed by Machig Labdrön and lists a number of his works on Chod consisting of redactions, outlines and commentaries amongst others:
"Rang byung was renowned as a systematizer of the Gcod teachings developed by Ma gcig lab sgron. His texts on Gcod include the Gcod kyi khrid yig; the Gcod bka' tshoms chen mo'i sa bcad which consists of a topical outline of and commentary on Ma gcig lab sgron's Shes rab kyi pha rol tu phyin pa zab mo gcod kyi man ngag gi gzhung bka' tshoms chen mo ; the Tshogs las yon tan kun 'byung ; the lengthy Gcod kyi tshogs las rin po che'i phrenb ba 'don bsgrigs bltas chog tu bdod pa gcod kyi lugs sor bzhag; the Ma lab sgron la gsol ba 'deb pa'i mgur ma; the Zab mo bdud kyi gcod yil kyi khrid yig, and finally the Gcod kyi nyams len."[15]

13. Vajrayogini and gcod
Vajrayoginī is a key figure in the advanced Tibetan Buddhist practice of Chöd, where she appears in her Kālikā (Tibetan: Khros ma nag mo) or Vajravārāhī (Tibetan:rDo rje phag mo) forms. The practices of Tröma Nagmo (The Extremely Wrathful Black Mother) associated with the Dakini Troma Nagmo (the black form of Vajrayogini), were also propagated by great Machig Labdron
Machig's Chöd is still practiced today in Tibet, India, the west, and other parts of the world.
Vajrayoginī is a key figure in the advanced Tibetan Buddhist practice of Chöd, where she appears in her Kālikā (Tibetan: Khros ma nag mo) or Vajravārāhī (Tibetan:rDo rje phag mo) forms. The practices of Tröma Nagmo (The Extremely Wrathful Black Mother) associated with the Dakini Troma Nagmo (the black form of Vajrayogini), were also propagated by the great Machig Labdron, who became the most famous female practitioner in Tibet and attained complete enlightenment by this method. "The particular transmission which His Holiness will give descends from Dudjom Lingpa, who received it in a direct vision of the Indian Mahasiddha, Saraha. This practice emphasizes cutting through grasping at the dualistic mind to realize complete selfless compassion.[16]
Vajrayoginī is a key figure in the advanced Tibetan Buddhist practice of Chöd, where she appears in her Kālikā (Tibetan: Khros ma nag mo) or Vajravārāhī (Tibetan:rDo rje phag mo) forms. The practices of Tröma Nagmo (The Extremely Wrathful Black Mother) associated with the Dakini Troma Nagmo (the black form of Vajrayogini), were also propagated by the great Machig Labdron, who became the most famous female practitioner in Tibet and attained complete enlightenment by this method. “
Vajrayoginī (Sanskrit: Vajrayoginī; Standard Tibetan: 'རྡོ་རྗེ་རྣལ་འབྱོར་མ་', Dorje Naljorma Wylie: Rdo rje rnal ’byor ma; Mongolian: Огторгуйд Одогч, Нархажид, Chinese: 瑜伽空行母 Yújiā kōngxíngmǔ) is the Vajra yoginī, literally 'the diamond female yogi'. She is a Highest Yoga Tantra Yidam (Skt. Iṣṭha-deva(tā)), and her practice includes methods for preventing ordinary death, intermediate state (bardo) and rebirth (by transforming them into paths to enlightenment), and for transforming all mundane daily experiences into higher spiritual paths.[1]Vajrayoginī is a generic female yidam and although she is sometimes visualized as simply Vajrayoginī, in a collection of her sādhanas she is visualized in an alternate form in over two thirds of the practices.[2] Her other forms include Vajravārāhī (Tibetan: Dorje Pakmo, Wylie:rdo-rje phag-mo; English: the Vajra Sow) and Krodikali (alt. Krodhakali, Kālikā, Krodheśvarī, Krishna Krodhini, Sanskrit; Tibetan:Troma Nagmo; Wylie:khros ma nag mo; English: 'the Wrathful Lady' or 'the Fierce Black One' ).[3][4] Vajrayoginī is a ḍākiṇī and aVajrayāna Buddhist meditation deity. As such she is considered to be a female Buddha.
Vajrayoginī is often described with the epithet sarva-buddha-dakinī, meaning 'the ḍākiṇī who is the Essence of all Buddhas'.[5] Vajrayogini'ssādhana, or practice, originated in India between the tenth and twelfth centuries. It evolved from the Chakrasaṃvara sādhana, where Vajrayoginī appears as his yab-yum consort,[6][7] to become a stand-alone practice of Anuttarayoga Tantra in its own right.[8] The practice of Vajrayoginī belongs to the Mother Tantra (Standard Tibetan: ma-rgyud) class of Anuttarayoga Tantra], along with other tantras such as Heruka Chakrasaṃvara and Hevajra.

14. Machig Labdron, the Tibetan Yogini Painting, 19th century
Iconographically, Machig Labdrön is often depicted with the attributes of a dakini, a representation of enlightened female energy.
Machig Labdron, the Tibetan Yogini
Painting, 19th century
Medium: Pigments on cloth
Current location
Rubin Museum of Art (RMA)
Iconographically, Machig Labdrön is often depicted with the attributes of a dakini, a representation of enlightened female energy.
She holds a drum (Skt.damaru; Tib. ཌཱ་མ་རུ) in her right hand and a bell (Skt. ghaṇṭa; Tib. དྲིལ་བུ་, Wyl. drilbu) in her left. Her right leg is often lifted and the standing left leg is bent in motion. Machig is white in color with three eyes and wears the Six Bone Ornaments of the charnel grounds, which is traditional for a practicing yogini. Dakinis wear 5 bone ornaments.
See

15. Machik Labdrön’s Prayer to All Lineages
English translation
I supplicate the father lineage of method. I supplicate the mother lineage of wisdom. I supplicate the non-dual lineage of meaning. I supplicate the lineage of fortunate ones with experience. I supplicate the Chöd lineage of siddhas. I supplicate the symbolic lineage of the dakinis. I supplicate the lineage of powerful dharma protectors.
Bless me so that I may develop disgust For deluded appearances and worldly activities. Bless me so that I may stop cherishing This illusory body of the four elements.
Bless me to develop the ability to experience the single flavor Of discordant conditions, sickness, demons and obstacles. Bless me to know the inherent nature Of all that appears, the miraculous display of my mind. Bless me to gain independence Within self-awareness, the spontaneously present three kayas.
Generally, may I and sentient beings of the six realms, Having abandoned the cause, the stain of dualism, Attain unsurpassable enlightenment.

16. Machig Zhama ( )
Famous for Lamdre (lam ‘bras, “path and result”) teachings, which were and remain popular within Sakya lineages.
married at age 14; pretended to be insane to escape her marriage!
Age she was a consort of the Ma translator Gewe Lodro ( )
She (later) also studied with Phadampa Sangye, among others.

17. III. Female figures in literature: dakinis, nuns, and Orgyan Chokyi
Secret-talk?
2nd wave feminism of the 70s and 80s
Mindrolling Jetsün Khandro Rinpoche (birth name Tsering Paldrön, born August 19, 1967) is a rare example of a femaleTibetan Buddhist lama. Born in Kalimpong, India and the daughter of His Holiness the late Mindrolling Trichen, Khandro Rinpoche was, at the age of two, recognized by Rangjung Rigpe Dorje the 16th Karmapa as the re-incarnation of the Great Dakini of Tsurphu, Khandro Urgyen Tsomo, who was one of the most well known female masters of her time.[1] Khandro Urgyen Tsomo was the consortto the 15th Gyalwa Karmapa Khakyab Dorje (1871–1922) and an incarnation of Yeshe Tsogyal.,.[2][3] Her name is in fact her title,Khandro being Tibetan for Dakini and Rinpoche being an honorific usually reserved for Tulkus, willfully incarnate lamas, which means "precious one."
Mindrolling Jetsün Khandro Rinpoche is a teacher in both the Kagyu and Nyingma schools of Tibetan Buddhism. She speaks fluent English, Tibetan, and Hindi dialects and has completed a Western education at St. Joseph's Convent, Wynberg Allen, and St. Mary's Convent, both in India. Rinpoche has been teaching in Europe, North America and Southeast Asia since She has established and heads the Samten Tse Retreat Center [4] in Mussoorie, India, and she is also resident teacher at Lotus Garden Retreat Center in Virginia, USA.[5] She is also actively involved with the administration of the Mindroling Monastery in Dehradun, India.[1] Additionally, she is interested in interfaith dialogue and currently sits on the Board of World Religious Leaders for the Elijah Interfaith Institute.[6]
According to Judith Simmer-Brown:
Rinpoche has always been careful not to cast herself as a feminist in the Western sense. One could think that she has been careful in this way for political reasons, but I think it’s more than that. I think she understands something very deep about her Western students: we need to go more deeply, egolessly, into our own gender issues so as not to be ensnared by gender. Then we could embrace our gender and act without the kind of confusion and resentment that usually haunts us. I really learned that from her.[7]
Jetsün Khandro Rinpoché.
Dancing dakini, Tibet, c. 18th century

18. Recap of Lecture Androcentrism and Misogyny in Tibet
Women in Tibet, a brief history:
Women of power/ influence during the Imperial Period (7th-9th centuries CE)
“Spiritually Accomplished” women from the 11th-12th centuries
Machig Labdron, Vajrayogini and gcod practices
Machig Zhama
Nangsa Obum
III. Female figures in literature: dakinis, nuns, and Orgyan Chokyi

19. Outline for today’s class
I. Finish up/recap Tuesday’s topics:
“Spiritually Accomplished” women from the 11th-12th centuries
Machig Labdron, Vajrayogini and gcod practices
Machig Zhama
Nangsa Obum
II. The cult of Tara in Tibet – a female Bodhisattva
III. Women as authors of Literature - Orgyan Chokyi’s autobiography
IV. If they aren’t writing, what are they doing? –alternate ‘careers’ for women in Tibet

20. Nangsa Obum Recall the Weaving Song from Week 5!!!
As a young noblewoman in a minor principality, Nangsa Öbum is destined to be
married to a proper suitor, despite the fact that her sole goal in life is to be able to
practice meditation in solitary retreat, away from the intrigues of her family estate.
She is married to a callous but wealthy nobleman, Drakpa Samdrup, Prince of
Rinang. She marries, moves to Rinang, bears a son, and endures seven years of physical
and psychological brutality from her husband and her evil aunt, Ani Nyemo.
She then meets several Buddhist teachers, but before she can ful! ll her desire to
leave Rinang and join her teacher in retreat, her father-in-law beats her, takes her
son, and imprisons her as punishment for even thinking of practicing the Dharma.
Beaten and dejected, she dies in prison. Her quest really only begins there, however,
for upon death she journeys through purgatory, meeting its denizens and learning
of the evil deeds they committed to land themselves in such desperate circumstances.
She miraculously revives, in the manner of the délok (chapter "3), and begins
to preach to all who will listen on the importance of karma—ethical cause and
effect—for staying out of purgatory and achieving a positive rebirth in the next life.
In her position of authority as a revenant—one who has returned from the dead—
and a teacher, she is allowed to return to her parents’ home with her son. She embarks
on a career as a Buddhist teacher, and like Milarepa, makes her trademark
teaching the lyric poem. In the weaving song she sings to her mother after they argue
over the propriety of a princess performing such “menial” labor as working with
! ber and loom, she urges her audience to see the wisdom of enlightenment in the
material things of mundane life. KRS
Recall the Weaving Song from Week 5!!!

21. A Weaving Song by Nangsa Obum
Homage to the master, the personal deities, and the muses.
May you look with compassion upon us women without religion.
Listen here, you girls my age.
Listen with your ears to Nangsa the revenant.
This girl’s weaving tools will serve as examples,
As I sing a song to turn your thoughts to Dharma.
If this four-footed structure dragged on the ground
Were a thatched hut for one—what a joy it would be.
If this four-corned seat spread out below,
Were a small meditation pillow—what a joy it would be.
If I, the revenant Nangsa Öbum,
Were a contemplative—what a joy it would be.
If you, happy servant women gathered here,
Were bringing provisions for a retreat—what a joy it would be. …
In the popular story of Nangsa Öbum, Princess of Rinang, narratives of Tibetan life and songs with images
of Tibetan material culture are employed to teach Buddhist principles of effort, compassion,
sel; essness, and the transformation of consciousness to a more enlightened
state of mind.
As a young noblewoman in a minor principality, Nangsa Öbum is destined to be
married to a proper suitor, despite the fact that her sole goal in life is to be able to
practice meditation in solitary retreat, away from the intrigues of her family estate.
She is married to a callous but wealthy nobleman, Drakpa Samdrup, Prince of
Rinang. She marries, moves to Rinang, bears a son, and endures seven years of physical
and psychological brutality from her husband and her aunt, Ani Nyemo.
She then meets several Buddhist teachers, but before she can fulfill her desire to
leave Rinang and join her teacher in retreat, her father-in-law beats her, takes her
son, and imprisons her as punishment for even thinking of practicing the Dharma.
Beaten and dejected, she dies in prison.
Her quest really only begins there, however, for upon death she journeys through purgatory, meeting its denizens and learning
of the evil deeds they committed to land themselves in such desperate circumstances.
She miraculously revives, in the manner of the délok (chapter "3), and begins
to preach to all who will listen on the importance of karma—ethical cause and
effect—for staying out of purgatory and achieving a positive rebirth in the next life.
In her position of authority as a revenant—one who has returned from the dead—
and a teacher, she is allowed to return to her parents’ home with her son. She embarks
on a career as a Buddhist teacher, and like Milarepa, makes her trademark
teaching the lyric poem.
In the weaving song she sings to her mother after they argue over the propriety of a princess performing such “menial” labor as working with fiber and loom, she urges her audience to see the wisdom of enlightenment in the
material things of mundane life. KRS

22. If this bag full of discarded ends …
If this bag full of discarded ends
Were samsara discarded—what a joy it would be.
If these matching joints now joined
Were bliss and emptiness united—how happy I would be.
…….
If the take-up reel that rolls the finished cloth
Were the two accumulations of wisdom and merit complete—how happy I would be.
If working the loom fiber back and forth
Were exchanging self for others—what a joy it would be.
If 84,000 strands of fiber
Were the good Dharma of the sutras and tantras—how happy I would be.
If this white cloth, supple and long,
Were this girl’s good motivation—what a joy it would be.
[ Rigs bzang gi mkha’ ’g ro ma snang sa ’o d ’b um gyi rnam thar ,
in Bod kyi lha mo’i zlos gar kyi ’k hrab gzhung phyogs bsgrigs kun phan
bdud rtsi’i char ’b ebs (Lhasa: Bod ljongs mi dmangs dpe skrun khang, "$#$),
")#–")$. Trans. KRS. See also Tsultrim Allione, Women of Wisdom (London
and Boston: Routledge and Kegan Paul, "$#3), "")–""(.]
Sources of Tibetan tradition p

23. What is a dakini in literature
What is a dakini in literature? What role(s) does the dakini play in the transmission and interpretation of the dharma for Jigme Lingpa?
What features become associated with ‘feminine’ through the dakini figure? How does this differ from the features of a celibate nun?
Can a dakini be an empowering figure for women?

24. The Cult of Tara
"Then, from the monkey Bodhisattva, an incarnation of Avalokitesvara, and the rock ogress, an incarnation of Tara, there sprang the Tibetan people.”
-- Red Annals (written by monk Kunga Dorje in 1346).
Compare this to the account we read previously from the Clear Mirror (written by Sakyapa Sönam Gyaltsen: )
Stephan Beyer, Magic and Ritual in Tibet: The Cult of Tara
Earliest texts trans from Skt to Tibetan 8th century. Earliest iconography dateable is Javanese 778.

25. Atisha’s role in the cult of Tara
Recall from week 4: Atisha was one of the four major Buddhist figures of the “Late Spread” period (11th-14th century): Indian Buddhist philosopher who was invited to Tibet.
Described in later biographical accounts as a devotee of Tara:
"Atisha's life was filled with visions of the goddess; when he was young, she induced him to leave behind thoughts of royal power and seek a teacher in another country. It was the goddess who persuaded him to go to Tibet, in spite of his advanced age: "And when Atisha asked Tara, she prophesied: 'If you go, your life will be shortened; but you will advance the teachings and benefit many beings, and chief among them a certain devotee.' And so he agreed.”
Atisha translated several hymns, rituals texts, etc. related to Tara and additionally composed some devotional liturgy.
The Gelukpa sect, which considers itself the heirs to Atisha’a Kadampa sect, in particular revere Tara

26. Suffering and Gender in Orgyan Chokyi
What is unique about the rhetoric of the body Orgyan Chokyi uses in her autobiography?
What can we learn about the status of women and female nuns through her autobiography?
What does her autobiography tell us about Orgyan Chokyi’s understanding of the relationship between gender and suffering?

27. Themes in Orgyan’s Chokyi’s Autobiography
Suffering of women
Suffering of animals
Suffering from death
Impermanance!
What in particular struck you about her autobiography?
What distinguishes it from some of the male autobiographies and biographies we’ve read and discussed?

28. If they aren’t writing, what are they doing?
Circumambulation (korra) around the Boudhanath stupa in Kathmandu, Nepal
Circumambulation (korra) around the Boudhanath stupa in Kathmandu, Nepal

29. Alternate ‘careers’ for Tibetan women?
Female Oracles: the majority of oracles recorded in modern history of Tibet are female (though high-ranking ‘important’ oracles tend to be male).
Female physicians: although academic institutions administered by the Tibetan government were set up for males (including that of the traditional medicine institution ‘Men-tsi-khang’), female physicians were quite prominent in pre-1959 Tibet. Educational opportunities for medicine expanded in exile and in post-1959 Tibet.
Performing arts: especially in the modern period, performing arts a popular vocation for women
For this we have to look outside of literature to ethnographic studies, most of which by necessity focus on modern Tibet. I hope this can shed light on some trends that likely existed prior to the modern area.
13. Min in
Sabhu village (leh ladakh) video taken Feb Female Oracle sucking out sgrib (pollution) from eyes of patient through vajra
Ladakh 8th day is medicine buddha day. 10th is Pbhava
In villages elderly women often participants, sometimes organizers. Do text recitations. Reciting texts amplifies karmic merit.

30. Female Oracle in Sabhu, Leh, Ladakh

31. Performing arts in Tibet
“separate expressive spheres” for men and women in traditional Tibetan performing arts: body language, costume, behavior, assertiveness
(cf Ellen Koskoff 1989:10)
‘Street’ songs performed by low-literate, often regardless of gender.
Being a performer was not a mark of status; depending on it for livelihood was!
Social status dependent not on occupation, but whether it was the primary means of earning money.
If performance was a side occupation, then (regardless of level of proficiency), they would have a very different social status thus in this respect women’s status was the same as men’s.
“livelihood from roaming” (sa-zhing-med-pa) versus “livelihood from one’s own fields” (sa-zhing-yod-pa)
Compare chams with performing arts (modern TIPA performance?)

32. Compare the following 2013 monastic cham to a 2009 performance of traditional song by TIPA…

33. Recap of today’s class I. Finish up/recap Tuesday’s topics:
“Spiritually Accomplished” women from the 11th-12th centuries
Machig Labdron, Vajrayogini and gcod practices
Machig Zhama
Nangsa Obum
II. The cult of Tara in Tibet – a female Bodhisattva
III. Women as authors of Literature - Orgyan Chokyi’s autobiography
IV. If they aren’t writing, what are they doing? –alternate ‘careers’ for women in Tibet